Chris Packham

Director Jonathan Watson’s super-violent Arizona is a well-done but chilly and essentially unlovable black comedy with one tiny spark of warmth — Rosemarie DeWitt’s performance.

Keith’s sincerity and depth of feeling are embodied in Lombardi’s performance.

Noi Na’s subsequent acclimation to her new home in the refuge is hopeful, but Chailert’s bravery, sacrifice, and manifest love are the only redemption the film holds out for humans.

Anyone who’s worked in editorial or a similar environment will recognize the staff’s focus, creativity, and sharpness.

The script is only lightly didactic and well-paced, and it nods toward the adults in the audience mainly by not insulting their intelligence.

Though set at a specific moment in time, the film could be about terminal cancer patients or condemned prisoners, a deeply felt catalog of the behaviors of men who know they’re about to die.

Director Kaspar Astrup Schröder’s gorgeous film is informed by that same charm and intelligence the way a sailboat is informed by 7 knots of westerly breeze.

The loose structure is bound by a thread of motherhood. Sonia’s children, two daughters and a son, are lively, intelligent, and deeply affected by their parents’ trauma.

This film is unusually slow-paced for its genre, but Zahler’s screenplay is driven by a solid central character and dialogue that might have made Elmore Leonard sit up straight.

Such is the case of The Osiris Child, a series of scenes that cut away from interesting developments to flashbacks with a vengeance, as though “interesting developments” killed director Shane Abbess’s dog.